Contemporary Scandinavian Cinema between Art and Commerce

With regard to Scandinavian cinema and television, the last decades have been marked by the unexpected international appeal and unforeseen longevity of Scandinavian crime or Nordic noir as it is sometimes labeled. This development has paved the way for ever increasing financial and artistic collaboration within the audiovisual industries, especially among the Scandinavian countries. But it has also attracted rising interest from the broadcasting and film sectors in Germany, the UK and the US. At the same time, what can be described as “film production as usual”, implying the production of art films, occasional national epics as well as a long line of domestic comedies and dramas, has continued. In this article, the mounting tension... (More)

With regard to Scandinavian cinema and television, the last decades have been marked by the unexpected international appeal and unforeseen longevity of Scandinavian crime or Nordic noir as it is sometimes labeled. This development has paved the way for ever increasing financial and artistic collaboration within the audiovisual industries, especially among the Scandinavian countries. But it has also attracted rising interest from the broadcasting and film sectors in Germany, the UK and the US. At the same time, what can be described as “film production as usual”, implying the production of art films, occasional national epics as well as a long line of domestic comedies and dramas, has continued. In this article, the mounting tension inherent in this situation – between film and television as a transnational industry vs. as a predominantly national form of art and entertainment, between different agents with stakes in the field such as filmmakers, critics and politicians etc. – will be put under scrutiny. (Less)

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abstract = {With regard to Scandinavian cinema and television, the last decades have been marked by the unexpected international appeal and unforeseen longevity of Scandinavian crime or Nordic noir as it is sometimes labeled. This development has paved the way for ever increasing financial and artistic collaboration within the audiovisual industries, especially among the Scandinavian countries. But it has also attracted rising interest from the broadcasting and film sectors in Germany, the UK and the US. At the same time, what can be described as “film production as usual”, implying the production of art films, occasional national epics as well as a long line of domestic comedies and dramas, has continued. In this article, the mounting tension inherent in this situation – between film and television as a transnational industry vs. as a predominantly national form of art and entertainment, between different agents with stakes in the field such as filmmakers, critics and politicians etc. – will be put under scrutiny.},
author = {Hedling, Olof},
editor = {Stone, Rob and Cooke, Paul and Dennison , Stephanie and Marlow-Mann, Alex},
isbn = {978-1-315-68825-1},
language = {eng},
month = {10},
pages = {146--157},
publisher = {Routledge},
series = {Remapping World Cinema: Regional Tensions and Global Transformations,},
title = {Contemporary Scandinavian Cinema between Art and Commerce},
volume = {1},
year = {2017},
}